When one thinks of a "perfect film", it's more often than not a drama
that comes to mind. In the course of this series, there are not very
many comedies that make the cut, let alone ones as downright zany and
farcical as Young Frankenstein. Yet there can be no denying the sheer
genius of this, one of the most perfect comic motion pictures ever made.
In a career highlighted by some damn funny movies, Mel Brooks truly
outdid himself with this, the one he'll always be most remembered for.

Sure, there have been others, such as Blazing Saddles and The Producers,
that come to mind as comedy classics. But none seem to touch the
sublime combination of humor, homage and pathos that this one does. It's
very easy to see that Brooks has a deep-seated, genuine affection for
the Universal horror flicks he is parodizing here. It is exuded in every
moment of screen time, and comes across in every single performance. It
is a labor of love, and a joy to behold.

It's no wonder that Brooks would repeatedly revisit the formula he
started with this film, of spoofing a favorite film genre. It works so
well here, that it's only natural to try and recreate it. And while it
did work again a few times, it never clicked quite as well as it does
here. This is a film so good that it can actually stand amongst the very
films to which it is paying tribute.

Most importantly, it's funny as hell. Mel Brooks has been accused of
employing stale humor at times in his movies, but that is never further
from the truth than in the work he put into Young Frankenstein. To be
fair, a great deal of this can also be attributed to the great Gene
Wilder, who conceptualized and co-wrote the project with Brooks. In
fact, I'd submit that the movie's genius may be more attributable to
Wilder than to Brooks.

Not only does Wilder excel as the co-creator, but also as the film's
star. In no other film is his natural frenetic energy put to better
use--this is a comic performance for the ages. And he's not alone,
either, as the movie is rich with brilliant comic performances from the
likes of Teri Garr, Gene Hackman, Peter Boyle as the Monster, and of
course the late, great Madeline Kahn doing her best old-time movie
starlet impression.

And then there are Cloris Leachman and Marty Feldman, two masters of
comedic timing whose characterizations as Frau Blucher and Eye-Gor add
so much to the film. Not to mention Kenneth Mars in a role directly
spoofing that of Lionel Atwill in Son of Frankenstein. Together with the
infectiously brilliant Wilder in the lead, this troupe of outstanding
performers represent one of the finest comedy ensembles ever put
together on film.

Like the very best parodies, Young Frankenstein bursts with genuine
admiration and affection for the source material. It looks and feels
like a Universal horror film, and is bursting with references and
in-jokes targeted at ardent fans. The hermit scene alone is so memorable
that for many, it has actually eclipsed the original scene from Bride
of Frankenstein, upon which it was based. That says a lot.

There are so many timeless set pieces and gags scattered throughout by
the keen comedic minds of Brooks and Wilder. The old "walk this way"
routine with Eye-Gor. The doctor's ludicrous medical school
presentation. "Abby Normal". Frau Blucher and the neighing horses. And
of course, "Puttin' on the Ritz." And yet, even in a comedy as
ridiculous as this one, there is room for genuine pathos and gravity, as
can be witnessed, for example, in the scene in which Frankenstein and
his monster come to an understanding while sharing a jail cell. This is
more than just Brooks and his vaudeville schtick. This is comedy on a
whole other level.

There is a reason why Young Frankenstein stands out from the rest of Mel
Brooks' body of work--why the rest of his career was arguably an
attempt to equal its greatness. With the help of Gene Wilder, he was
able to craft something that has truly stood the test of time as the
ultimate love note to a venerable subgenre of film that Brooks, Wilder
and so many others hold so dear. Most importantly of all, it is
uproariously funny, and a rare comedy that stands up to endless repeated
viewings. Call it Frankenstein. Call if Fronkensteen. I call it
brilliance.

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